MomsMobley

I'd be surprised if you like what you find there. If you like parts of Lucky Old Sun (which I forgot to mention as third mostly good or better BW solo) than this is everything that ain't. If the mere presence of Robot Brian as opposed to the engagement of whatever battered mix of memory, desire and humor the original Brian could summon along with his (food/drug mediated) depression/happiness then... Note 1: I already suppressed the fact I listened to a song co-written by Jon Bon Fucking Jovi... Good luck with that one yourself. Note 2: I didn't discount this record just because Carl and Dennis are dead but don't believe the wow-they-aren't-dead-yet-hype, this is the most BORING Beach Boys record w/ Brian since Keepin' The Summer Alive; again, at least Light Album was weird; at least Beach Boys (1985) had "Male Ego"; the new one is 'classier' at first listen (and obviously eschews the hideous '80s production style) but underneath the competent execution it's pretty much CHINTZ. Not chintz:

ja joe, highly interested in the story but i'm afraid the album is better than not-horrible... i had to listen of course but could it be otherwise? there are two sleepers in BW's catalog (assuming we all recognize Love You as a form of genius) and they are the maligned but half great Andy Paley/Eugene Landy album Brian Wilson and maligned but brilliant blues album, Van Dyke Parks Orange Crate Art. The Smile simulacra was pretty good but the rest of BW's solo career is pretty sorry, though the unreleased Sweet Insanity would have at least been suitably weird. Greatest Brian Wilson song ever as of June 6, 2012: "H.E.L.P. Is On The Way" (which I can't find on youtube but it's on Disc 3 of the "Good Vibrations" box). Greatest Beach Boys book everyone should read but maybe haven't: David Leaf, "Beach Boys And The California Myth"-- http://www.amazon.com/The-Beach-Boys-California-Myth/dp/0448146266 Blondie Chaplin Changed Our Lives http://www.youtube.com/watch?v=CRyD-biu7mQ

AMCD 60 CHARLIE LOVE Love (tpt), George Lewis (clt), Louis Nelson (tbn), Louis Gallaus (pn), Albert Jiles (dr), recorded Algiers, La. 9/2/62 + an early 60s trip of Love, Emile Barnes (clt), Emmanuel Sayles (banjo) both are tremendous, throw out your Alan Shorter, Toshinori Kondo, Steven Bernstein records and wait till the sun shines, Nellie!! http://www.amazon.com/Charile-Love-Louis-Nelson-George/dp/B000001YIF *** AMCD 106 Herb Morand's New Orleans Band 1950 Herb (tpt), Albert Burbank (clt), Eddie Pierson (tbn), Lester Santiago (pn), Louis James (bs), Morris Morand (dr), New Orleans 2/15/50 You can't ever have too much Herb Morand so no complaints about the unreleased alternates of "If You're A Viper" and "Have You Seen My Kitty." Were there only more!! Second half of the album is Paul Barbarin & His New Orleans Band, January and May 1951. Ernie Cagnolatti >>>>>>> Enrico Rava and that's just fidgety feet! http://www.amazon.com/1950-1951-Herb-Morand/dp/B00000I0GU

"The Last Public Hanging in West Virginia" is one of T's best, though F&S didn't quite nail it, alas. It later became a signature piece for Dave Evans-- I prefer the studio version but this will git ya' most of the way there (albeit a little slowly)-- Comparison of the contemporary solo Flatt and Scruggs Revue sides is an interesting endeavor-- both are worthy.

ah, some questions answered! dig the Rose Leaf Ragtime Club interview with... Knocky Parker! http://www.roseleafragtimeclub.org/f/interviews/parker1.php The Light Crust Dough Boys gig alone is fascinating; that he did other things-- + English PhD & professorship-- amazing. Bill: Then, after the war, you really got into the jazz area more, didn't you? How did that happen? Knocky: I don't know how, Zutty Singleton...Oh yes, I do too. On my two weeks holiday, the first year with the Doughboys, I spent in New Orleans and got a job there at the—some hot spot—the "Little Puppy," or something. There was a clarinetist, I think his name was Sid Arodin... *** B: Since you brought up his name, did you know James P. Johnson? K: Yes! Yes, very, very well. We two, for many, many occasions worked together at Bob Moss's concerts in New York. And, of the two of us, week after week, month after month, played together there and were good, good buddies... ... James P. was supposed not to drink, and his son was there along with him to see that James P. didn't drink. But the very first thing when the evening started, the son would get drunk, and that was it, you know, because he'd be the drunkest of them all. And poor old James P. would drink. I never saw him drink too much, but it was bad for his health for him to drink anything at all. I'm sure that's true, you know, it was injurious. He was on his last days. But he was a phenomenal virtuoso, a flawless technician and a superb artist.

From Light Crust Doughboys to Doc Evans to Sleepy John Estes ("The Legend of..." lp on Delmark) to solo Jelly Roll Morton & Scott Joplin (which I've not heard)... is it possible there's never been a Knocky Parker thread before? Any Chicagoans present at the Estes session or related gigs? and what of Parker's other career as a Professor of English? Dig, University of South Florida (Go Bulls!) even has a Knocky Parker Award for Creative Nonfiction Writing-- http://english.usf.edu/awards/ LIGHT CRUST DOUGHBOYS 'Tiger Rag' https://www.youtube.com/watch?v=_po4iAUw0Fg http://www.youtube.com/watch?v=EiFZ1WeTwp0

Thanks for the pics, Jeffcrom. Question: was there ever only one volume of Jelly Roll Morton LOC recordings on Solo Art, with R.T. Davies pitch correction, Jack Towers mastering? Recommendation: Barnes Bocage Big 5. Liner notes by artist James McGarrell below, from deeply hidden 'frame' here http://www.jazzology.com/jazzbeat.php?id=82 though in typical charming fashion the website sells the family of labels short. Here's the cover-- http://www.amazon.com/Big-Five-Barnes-Bocage/dp/B000001YIW I'm almost-- ALMOST-- tempted to say it's safe to be a blue label American completist. Question: Is that too optimistic for a few of the more obscure/repetitive live recordings? *** BARNES-BOCAGE BIG FIVE By Jim McGarrell In 1950 I went as a penurious art student to New Orleans for a few days. I was following an interst in the music of that city that had begun when I was a teenaged collector of 78 rpm shellac records from the 1920s. From the writings and recordings made by Bill Russell on his American Music label in the 1940s I learned that there were still musical contemporaries of Louis Armstrong, Johnny Dodds, and Jelly Roll Morton plying their craft in the Crescent City and I wanted to meet and hear them while they were still alive. Most were around the age I am now as this is written, in their mid-sixties, which seemed to me quite ancient; I was afraid they might expire any day. I had no way of knowing when I landed in the city that, just as the genuine jazz sound was unlikely to be heard on used records found in white neighborhoods in Indianapolis, the best musicians usually played the best New Orleans jazz in street bands, bars and dance halls away from Bourbon Street and the French Quarter, where I naively went to look for it. I was lucky, however, because the great early George Lewis Band had just gotten a gig at the El Morocco there and most of his sidemen were known to me from Russell's recordings. I listened through every set, bought them the occasional beer, visited their homes, and began a friendship which lasted several years. When I returned for the whole summer in 1951, I noticed two other young white guys lingering on the sidewalk outside the club between sets through which they, too, attempted to nurse a single drink. These kids were Alden Ashforth and David Wyckoff, who were acolytes to Bill Russell and who had stopped off in Chicago to meet him after running away from their freshman year at Harvard on a jazz pilgrimage to New Orleans. When we had exchanged mutual enthusiasms, they told me excitedly of the street and dance band music they had found in just a couple of weeks there, and especially of the clarinetist Emile Barnes who had not been heard by any of the few jazz preservationists from the North of the previous decade, not even Russell. They took me to hear him on his weekend job at a nondescript little back street place with trumpeter Lawrence Toca and two rhythm players. As soon as I heard a few bars of his warm Albert clarinet vibrato I knew I was in the presence of the same earthly sound that had thrilled me under the hiss and crackle of the shellac records of Sidney Bechet, Johnny Dodds and Jimmie Noone, the sound that had won me to New Orleans music as a teenager. I learned from my two friends and from Barnes that he handcrafted mattresses as a day job because he could not support his family from music alone; that he had been the clarinetist in the legendary Chris Kelly Band and the Camellia Band of Wooden Joe in the nineteen-teens and twenties, and that he would like to find the bigger audience that his music deserved. Alden, David, and I were convinced he was too important a musician in the development of New Orleans jazz never to have been recorded. Meanwhile the families of Alden and David found them by employing a private detective, and Alden's father descended upon us to try to persuade them to return to college. I was the beneficiary of a few wonderful dinners (one at Galatoire's that we never could have afforded otherwise) as part of his gentle and generous persuasion. They struck a bargain that if he would provide an Ampex tape recorder and funds to record the Eureka Brass Band and a couple of studio sessions with dance band musicians—especially Barnes—they would return to college the following autumn. He agreed, and that, of course, is how they made the first recording of an existing, practicing jazz marching band. They decided that Barnes, however, should be showcased in a couple of all star ensembles with the best other they also wanted to record. That Kid Thomas would be one of these became obvious when, following a tip, we went across the river to the town of Algiers and heard his astonishing trumpet playing. Here was another brilliant musician unrecorded and previously unheard by aficionados from outside the city. Bill Russell came down from Chicago to help Alden and David with technical aspects of all of these sessions. I acted as a gofer and bought beer for the musicians out of my wages as a short order cook in a hamburger joint above Canal Street. After that halcyon summer of 1951 I went back to being an art student, first at Indiana University-- where I arranged and promoted a concert of the George Lewis Band in 1953—and later as a graduate student at UCLA—where I found myself becoming the chauffeur for the Lewis band when they played a gig in Beverly Hills in 1954. By this time two of the Ashforth/Wyckoff American Music sessions featuring Barnes had been added to the American Music list, and I kept thinking that, as wonderful as much of the music was, there were only flashes of the brilliance we constantly heard when Barnes was playing on jobs with musicians, maybe lesser ones, but ones of his own choosing, in his own pickup bands. When I learned from friends in New Orleans in the spring of 1954 that he had begun playing regularly with the venerable trumpeter Peter Bocage in a five-piece ensemble, I determined to do a session of my own with that combination. Never mind that they used an electric guitar rather than a banjo, that they blew pop tunes rather than jazz standards, or that they played for the pleasure of neighborhood dancers rather than jazz-conscious listeners. I didn't want to embalm some re-creation of a music from the past; I wanted to capture a live music of that present time. I was able to put the whole thing together over the summer of 1954 with a couple of auto trips from Los Angeles, some phone calls, and the help of friends like David Wyckoff, Billy Huntington and Dick Allen. I rented the legendary San Jacinto Hall where Russell had recorded Bunk and George Lewis in the 1940's. but where recent visits by Fats Domino had obliterated these occasions in the mind of the proprietor. I paid Union scale wages out of savings from my teaching assistantship, and a Hollywood record entrepreneur, who later lost interest, did lend me his ancient Cadillac for the final trek to do the recording on September 8, 1954. After forty years the memory of the evening itself seems an anxiety-ridden though exhilaratingly blurred phantasm compared to the events leading up to it. We had, I think, only one rehearsal but since the band had played together on jobs, I didn't think more were needed. We opened the doors to the hall, not only because it was a hot night but because we thought that people coming from the neighborhood to hear the music and dance a bit would relax the musicians and add human warmth to the sound. They did, and it did, in my view. At one point a tap dancer started performing—he can clearly be heard on one take of Sheik of Araby- but as the evening wore on there were more and other dancers of all ages and styles. Fortunately the recoded sound gives what memory can't. For me this will always be primarily the throbbing intensity of Emile Barnes' playing. Whether in quiet obbligato behind the lead of another instrumentalist or erupting glissando out of his own, he constantly surprises me with new musical inventions of heady delight. How does an under-educated mattress maker wring inexplicably complicated figures of this degree of sophistication from sometimes silly and banal pop tunes? An older, more educated and "legitimate" musician, Peter Bocage, seems the perfect foil for Barnes. To say that he lays down a solid melody line is not to say that it is without inventiveness. Like Bunk, he can seem to be playing "book" melodies note for note, but his stylish phrasing makes them swing. The rhythm section was anchored by drummer Albert Jiles, whose work I had previously had previously admired on some of the American Music sessions of the mid-40's. Bassist Eddie Dawson at seventy was the oldest musician on the date, and Homer Eugene on guitar at forty the youngest. It was probably, but not exclusively, the swing-oriented amplifications of the latter which made these sides unacceptable to commercial "Dixieland" record labels in the 1950s and 60s. A selection was finally issued in England by6 the New Orleans Jazz Society (NOJS) in the 1970's and later by NOLA Records there, and I have heard that it became something of a cult item in the UK. I am happy that it may now finally find a wider audience in this country and the world.

How about answering the questions? So Werner gave X Artist Y _____ $$$ when to do what? Do the artists ever earn back these costs? Who? When? And then what? Hard to earn your way out of 'debt' for a product that's not available, isn't it? Or are all these records pressed once and gone forever-- or until he 'feels' its OK to put out again? That's nonsense, especially when Lufthansa or Swiss Bank or whomever was footing the bill. How is it New World's two great Cecil Taylor have pretty much always been available and Hat's disappear faster than my hair and come back even more slowly? There's an implicitly exploitative relationship going on here because while Werner X. continued to build his brand/legacy, VERY important works of numerous artists first barely existed and then disappeared. Granted, Werner X. had all kinds of distribution issues to contend with but so did everyone else. Just becaue it's 'jass' doesn't mean these people are unlimited founts of creativity (far from it, usually) so seeing that shit go down the black hole of history to the point ya'll are even thinking of paying TOP $$$ for used copies is ridiculous. A ** TRULY ** generous man concerned about world musical culture would GIVE Joe McPhee all his recordings back; Anthony, Cecil etc etc. (The classical ensemble stuff is a little trickier.) Is there a reason this hasn't been done or-- to my knowledge-- hasn't been contemplated? I'm not saying I'm right but I damn well want some answers before giving Hat any wampum. Support BIS records also, which keeps its ENTIRE catalog available.

Dear David and C-mice, Fret not, I'll GIVE ya'll copies of Willisau gratis so long as you don't support Werner's crackpot 'management' of his back catalog without polite protest. Give the money to Tony directly, I'm sure he'd do something more useful than what Werner "might" do "someday." Not taking away from his accomplishments (though does the world need more Ellery Eskelin anything, really?) but for whose benefit are ALL Hat's John Cage recordings oop ALL or nearly so Hat's Morton Feldman recordings oop Christian Woolf, New York School, Joe McPhee etc etc... Q1: who owns the rights to these recordings, Hat or the artists? Q2: what were the artists paid to record, and what are/were their accounting/royalty schedules? Q3: is there ANY reason besides intransigent ego that large chunks of the Hat catalog should not be reissued as is now occurring with Black Saint/Soul Note? NO CECIL NO PEACE! NO CECIL NO PEACE! NO CECIL NO PEACE! Q4: sincer Wener was playing with a significant amount (if not "a lot" in larger economic sense), other people money before, is not his stubbornness on this issue a little strange? If you're interested in orange and grey Euro jazz sure, wait around for Werner's tarot to come up aces... If you care about music/culture, support a label like MODE which does great work AND keeps their entire catalog available for OOP items as FLAC + .pdf. I just might cave one day and drop the $150 people want for Willisau. $150? I want $1000 for mine. I'd pay $150 just for a second copy...

how about some of ya'll actually catching up with Jones/Baraka, if you're going to get so irritated by his pip-squeaking 50 years ago? it isn't too difficult-- http://www.ucpress.edu/book.php?isbn=9780520265820 and while Baraka ain't 100% right-- far from it sometimes-- he's a writer who has done excellent work in poetry, prose, drama and criticism. yes, his HISTORY was and still can be lacking but rarely moreso than other knuckleheads the jazz polis tolerates from insipid Whitney Balliett (who writes as if social history barely existed, a huge lie of omission) onward. the excellent How I Became Hettie Jones http://www.amazon.com/How-I-Became-Hettie-Jones/dp/0802134963 explains a lot as as Professor Allen Lowe noted, though I thought he dropped out of class with Trummy Young!!

what a joke!! and i recall some people getting all 'upset' when some folks questioned the sanctity of Ahmet, who had NO PROBLEM with decades of limousine lifestyle starfu**ing (beyond what business needs he had, i.e. of course a CEO hangs with the 'elite' not hoi polloi) on the back of folks-- black, white, other-- saddled with knowingly exploitative contracts. how about some bones for * Alcorn State, Jackson State, Mississippi Valley State, Rust College Tougaloo College * Bethune-Cookman University, Edward Waters College, Florida A&M University, Florida Memorial University * Haskell Indian Nations U in Lawrence, KS I'll cut Neshui some slack, hoping at least he'd know better but these other Erteguns are shameless.

I'm STRONGLY against the use of anachronistic terminology in historical narrative; it only confuses things further. you start calling everyone "African-American" or whatever BEFORE such a term existed and it obscures the gradients of written (or reported oral) language and their myriad meanings implied by each usage. This is especially telling in mid-to-late 19th century (i.e. antebellum rumblings to post-Reconstruction withdrawals) but the idea is the same any time. thus it is VERY interesting-- and telling-- to know who at what time and from what source is "negro," "colored" or "black." Pullman's momomania might have its virtues-- I dunno-- but he prob should have read a lot more Douglass, Chesnutt, DuBois, Quarles, John Hope Franklin, Baldwin etc before pretending to be a philosopher of language too. p/s: "Ethiopian delineators" The refusal of the university press he had a contract with to accept those coinages was among the chief reasons he left them and decided to publish to book himself. Pullman would say (indeed, IIRC, has said) that his desire to change common usage (or at least make it clear where he himself stands politically on this topic) was essential to the whole project. He does, after all, again IIRC, see prevailing racial assumptions-attitudes, etc. impinging directly and perniciously on Powell's life throughout, and no doubt feels that it would be morally wrong for him to step back from the present-day consequences-implications of that view, as though that socio-political "story" effectively ended with Powell's death. Rather, he wants to make those connections to the present unavoidable.

i take it thru "Royal Jam" and still keep "Scratch" on the radar hoping I can blow that goddamn "Eleanor Rigby" cover out of their discography once and for all. If I could eliminate all versions from the world I would but I'll settle for this. The ** variations ** are swell but the fucking theme was, is and always shall be loathsome. And yeah yeah, I understand why but I still don't like it. Zaire on the other hand-- http://www.youtube.com/watch?v=qZiNRgOHoO0

http://www.amazon.com/Digging-Afro-American-American-Classical-Diaspora/dp/product-description/0520265823/

hold on... http://www.youtube.com/watch?v=5Zgzy7NlIQM when it all comes down... gotta admit 'rural renewal' doesn't suck either... http://www.youtube.com/watch?v=tN6cGHHjr2E

Joseph Holbrooke was an estimable composer; naming the trio that might be as much refutation as homage to his formalism but then Holbrooke himself gets chided for alleged formal transgressions (compared to what, Bach?) so who knows. It's likely both. http://www.hyperion-records.co.uk/al.asp?al=CDA67127 most everyone except George Lewis (trombone) completists can live without the Company recordings BUT... the Company Week etc project has greater social-artistic significance than the mostly footnote-worthy musical results. Mo' Holbrooke, chamber this time-- http://www.youtube.com/watch?v=0CHSZrGXgB0 Karyobin is OOP on CD and fetches a hefty price these days. I don't think Emanem were able to get the rights from Island to reissue it so the old Chronoscope disc (am told that wasn't legit, but...) is about all there is (short of paying a mint for a battered original LP, which seems to be par for the course vinyl-wise). Too bad it's so hard to find because it's one of the great SME documents, for sure. I'm with Jeff on the Company stuff - sometimes brilliant, sometimes boring but always of value.

never saw this Sly before-- http://www.youtube.com/watch?v=6Ptrc2cWRxU violin solo!

thanks. i would have thought so, for the reason you state. and while 'blues purist' dorks denigrate those ABC sides, i do not. ALL the B.B.'s have more hot moments than dull; knuckleheads don't want to admit he was a great soul singer too and there was no reason except age he couldn't be down with the gritty side of contempo R&B. some of the material ain't all it could be but it's totally valid effort, likewise B.B.'s country soul masterpiece, "Love Me Tender." "Soul Train" worthy jam-- http://www.youtube.com/watch?v=9gxFsX1kMkM Better Not Look Down!! http://www.youtube.com/watch?v=CNAZ68zwtvI

B.T. Express (+ Carlos Ward, soprano)-- http://www.youtube.com/watch?v=l4rd7I0Q75o Q: were Bobby Bland or B.B. King ever on Soul Train?

Please do-- I'm still skeptical but haven't read all German literature. I'm also not with my Brahms lied disc but don't see any evidence here-- Brahms's Song Collections Researching The Song: A Lexicon Liszt and R. Strauss used Lenau texts yes but... Moms' incipient menopause might explain it.

Note also Sam's virtuosity (on reeds)-- one should NEVER say "effortless" virtuosity because he worked his ass off-- in any number of settings and compare it to X, Y, Z younger "free" "improv" "composer" schmoes who 1) have mediocre at best technique on all their horns 2) have no original compositional ideas 3) aren't even good pasticheurs Then there are the technically able blowhards with a bounteous collections of jazz hats who couldn't PLAY something interesting if their entire "tribute" discographies depended on it. Gentleman tooters like Sam, Roscoe, nearly all of Braxton (a few of those standards/homage sets are disposable, half-baked) prove in abundance there are other ways. SIZZLE! Anyone ever hear of tapes of Sam's gigs with T-Bone Walker (unlikely) or Dizzy (which must be out there)?

I believe you were misinformed; Brahms owned volumes of Lenau poetry but never set it. Schumann Sechs Gedict von N. Lenau you know, of course; there was in the late '90s/early '00s a Czezslaw Marek revival of sorts-- his Fünf Lenau-Lieder is out there somewhere. I have not heard nor read Albert Moeschinger's TWO Lenau cycles but if so inclined--> http://www.musinfo.ch/index.php?content=maske_personen&pers_id=177&setLanguage=en

good look on Panken, 7/4. And lest anyone doubt how truly-- extremely-- hip Sam was artistically AND historically, note this-- TP: Was your father born in Cincinnati? SR: No, he was born in Boston. After I got out of the Service during the Forties… When I entered the Navy, I was one of the first who didn’t go in as a musician or a steward. Robert Smalls and I went in as regular Navy men. We had a choice of whatever field we wanted to go into, Bosuns, Mates… I chose music when I went in, but the band they wanted to put me in wasn’t good. I’m very young and arrogant, so I said, “No, I’ll learn something else.” So I went in as Quartermaster, correcting charts and steering the ship and all that, but I never went on board ship. I knew I wasn’t going on board if I took something like that. I was transferred to Vallejo, California, which was my musical experience. It was very good I didn’t go into the band, because the band had to play in the officers quarters every night. I wasn’t in the band, so I could take my horn and go out into the city and play. Vallejo is near San Francisco. That’s where I met Jimmy Witherspoon. One of my first professional gigs was with Jimmy Witherspoon while I was in the Navy. We were playing at this club someplace in Vallejo where he was everything. He was the Master of Ceremonies, he was the maitre’d, he was the comedian and he was the singer, and I was part of the group. That’s pretty much the playing I did when I was in the Navy. *** I wouldn't expect foreign readers to know Robert Smalls but how many Americans reading this do? Sam DID. And I don't even "blame" Americans so much as the goddamn system that raised them-- and later consigned Robert Smalls to obscurity.